Black Narcissus -- (Movie Clip) You're Slipping You will receive an email shortly to confirm your email address. Black Narcissus -- (Movie Clip) You're Slipping title details and video sharing options now playing Black Narcissus -- (Movie Clip) You're Slipping Going about business in their Himalayan convent, Sister Superior Ruth (Deborah Kerr) is surprised when local agent Dean (David Farrar) springs Kanchi (Jean Simmons) on her, recruiting Sister Briony (Judith Furse) for support, in Michael Powell and Emeric Pressburger's Black Narcissus, 1947. View the TCMDb entry for Black Narcissus (1947) share video Black Narcissus -- (Movie Clip) You're... Going about business in their Himalayan convent, Sister...

Black Narcissus -- (Movie Clip) You're Slipping Going about business in their Himalayan convent, Sister Superior Ruth (Deborah Kerr) is surprised when local agent Dean (David Farrar) springs Kanchi (Jean Simmons) on her, recruiting Sister Briony (Judith Furse) for support, in Michael Powell and Emeric Pressburger's Black Narcissus, 1947.> Black Narcissus -- (Movie Clip) The Place And The... Not a frame of film shot in Asia, the nuns are reading a... Black Narcissus -- (Movie Clip) The Place And The People Not a frame of film shot in Asia, the nuns are reading a voiced-over letter from Mr. Dean (David Farrar) about what they're getting into, early in Michael Powell and Emeric Pressburger's Black Narcissus, 1947.> Black Narcissus - (Movie Clip) You're All... Sister Superior Clodagh (Deborah Kerr) confronts Sister Ruth... Black Narcissus - (Movie Clip) You're All Jealous Of Me!

Sister Superior Clodagh (Deborah Kerr) confronts Sister Ruth (Kathleen Byron), who's cracking up, now out of her habit and ready to leave their Himalayan convent, in Michael Powell and Emeric Pressburger's Black Narcissus, 1947> Black Narcissus - (Movie Clip) Work Them Hard Mother Dorothea (Nancy Roberts) briefing new and young... Black Narcissus - (Movie Clip) Work Them Hard Mother Dorothea (Nancy Roberts) briefing new and young Sister Superior Clodagh (Deborah Kerr) regarding staff (Judith Furse, Flora Robson, Jenny Laird, Kathleen Byron) for the new mission in the Himalayas, in Michael Powell and Emeric Pressburger's Black Narcissus, 1947.> Black Narcissus - (Movie Clip) Opening Credits First the Rank Organisation gong and "The Archers"...

Black Narcissus - (Movie Clip) Opening Credits First the Rank Organisation gong and "The Archers" trademark, then technicolor cinematography by Jack Cardiff, opening Michael Powell and Emeric Pressburger's Black Narcissus, 1947, starring Deborah Kerr.> Black Narcissus Reviews & Ratings - IMDb IMDb 17 January 2017 8:34 AM, PST NEWS 122 out of 131 people found the following review useful: Nuns story. Author: dbdumonteil 2 April 2002 As time goes by,Powell and Pressburger's movies become more and more important and crucial in the evolution of the seventh art.The first time I 'd seen "black narcissus" I had missed the whole point:this is the kind of film you've got to see several times.

Five nuns are leaving their Calcutta convent for a mission in the Himalaya mountains.In this place,where the wind never stops blowing,they will settle in an old "palace".These nuns have faith,they believe in what they are doing ,be it teaching,nursing,educating,or carrying the word of God.But their faith will clash with a thousand -tear-old wisdom(the Holy Man),a population who mixes up religion with magic,and Mister Dean, a Bunuelesque pragmatic man. The natives will not change,but the nuns will.Their faith gets still tangled in prejudices;two examples: -A young noble man wants to study in the mission.When sister Clodagh (Kerr) refuses,he points his finger at the crucifix and says "Wasn't HE a man?"" He took the shape of a man" the baffled nun answers. -Sister Clodagh wants to get rid of the Holy Man,who spends his time gazing upon the world around him."What would Jesus Christ have done?" Dean ironically asks her.

After hearing sister Philippa's (Flora Robson)worried confidences,sister Clodagh feels that her past is coming back to haunt her.The flashbacks are extraordinary,dreamlike and a bit eerie.Clodagh comes to the door to meet her fiancé ,there's only darkness.The past and the present are worlds apart,in time and in space and seem to be two unconnected ones .It recalls the real world and the beyond in "a matter of life and death" (1946).And the infinite space of the 1946 work is here the highest mountains in the world.By the same token,the hunting with hounds flashback forecasts "gone to earth" (1949).Powell and Pressburger are real auteurs who build a coherent work.

The nuns actually discover that they are women made of flesh and blood.One of them,sister Ruth goes as far as falling in love with Dean and relinquishes religion.The night scene during which she paints her lips against a hellish backdrop in front of a terrified sister Clodagh is a riveting tour de force that even Luis Bunuel did not equal.The fighting around the (hell) bell between a white Clodagh and an all dressed in black Ruth will leave you on the edge of your seat. There are so many things to say about "black narcissus":Jean Simmons appears in a silent ,but vicious part.This is probably Deborah Kerr's towering performance,and she's only on the threshold of a brilliant career -she will play a nun once more in John Huston's "heaven knows mister Allison" ,but although I do love that director,her part here is far superior-.Jack Cardiff's award-winning color cinematography was years ahead of its time.It works wonders in the sensual scenes but the most beautiful picture remains for me the last one when the rain begins to fall on green leaves. A sparkling black diamond. from United States 31 August 2001 I have seen Black Narcissus in three different ways.

First I saw it in a movie theater when I was 7 or 8 with my mother. I remembered it as being beautiful to look at and rather strange, and I fell in love with the idea of The Roof of The World. I next encountered Black Narcissus as an older adult. I purchased Black Narcissus in VHS format. I devoured the film scene by scene. The film is ravishing, spectral and profound. The idea of someone being given a trust much heavier to bare than their abilities can handle opens the door to all sorts of possibilities. The suggestion that all the nun's had lives before they became nuns and not all of them are suited to "The Life" adds depth and tension. The introduction of a bare-chested, handsome man in shorts adds lust and temptation to the mix. One of the best characters in the film is one that no other poster has mentioned. The marvelous character actress who plays the role of Aiyah, the caretaker of "The General's House of Women." A woman who is already slightly mad when the film begins. A woman who lives in the glorious past of the place. She conjures ghosts. She casts shadows. She has a voice as harsh as a parrot's.

She is priceless and wonderful in every scene, for she is not just mad, but wise. She is the key to "The House of Women". In the Alfred Hitchcock film of Rebecca, Mrs. Danvers, the mad housekeeper of Manderly, asks the new Mrs. DeWinter: "Do you believe that the dead come back to watch the living?" In Black Narcissus, the viewer gets the feeling that just around the next turn or at the top of the stairs is one of "The General's Women", watching these odd women who live without men. A previous poster mentioned the superb sense of "place" in the film and I agree. The Palace is a player. It has a personality and a mystery of its own. So is the ever-present wind. Jack Cardiff, the genius who performed miracles with light and painted backdrops to photograph a film set in the Himalayas without ever leaving England, can't be praised highly enough. The cast is splendid. Deborah Kerr's tortured Sister Clodagha registers every emotion, every longing, every doubt and every fear with her eyes and the set of her chin.

Dame Flora Robson, better known as Elizabeth I in so many films, portrays Sister Philippa, the nun in spiritual crisis. Her, "I think it is this place. You can see too far. I think you either have to give in to it, like Mr. Dean, or leave", neatly sums up the entire film. When she can't bring herself to plant vegetables instead of the flowers she loves, she knows she MUST leave or lose herself and all she has worked for, forever. Judith Furse, the capable and sturdy Sister Brione has no such concerns. Hers is an unquestioning faith. Kathleen Byron as Sister Ruth, (the extra burden the Mother Superior foists on Sister Clodagha as a test of her dedication and skill at managing a small but dynamic group of women),is excellent in her demanding role as the nun who cracks. A beautiful young Jean Simmons is sensuous as Kanchi who seduces Sabu who is very good as the young Prince, who has set himself to learn just about everything and who thinks the nun's shunning men "Isn't very nice. After all, Christ was a man..." He is named Black Narcissus by Sister Ruth. David Ferrar as Mr.

Dean may have "given in to the place" but he is still civilized enough to empathize with Sister Clodagha and resist Sister Ruth's advances. He has predicted that the nuns will last "until the rains come..." Black Narcissus is filled with magic images and haunting echos. The "flowering of the snows" scene is breathtaking. The chapel scene frightening and tense. The "Bell" scene horrifying. The final view of "The House of Women", viewed by Sister Clodagha from the valley below is heart-stopping: A mist rises slowly and inch by inch blots out the Palace, until it is only a dream in your mind's eye. Then, a large leaf is seen. One drop falls. Then another, like tears of regret. A black umbrella is opened. Mr. Dean sits on his pony and runs his hand through his thick black hair. He had said the nuns would be gone with the first rain, and he was right. Brian Easdale's brilliant score underlines the changing moods and the mounting terror, but never overwhelms the action. My most recent encounter with Black Narcissus is the new Criterion DVD.

The commentary and behind-the-scenes photographs and the marvelous documentary, Painting with Light, is as extraordinary as the film. It is a revelation. The sharper image doesn't bother me as much as it does a previous poster, but I do, when I have friends over to watch Black Narcissus, start with the VHS film and then put on the DVD for the special features. That way I get the best of both worlds. If you love great films, great acting or just stunning cinematography, purchase Black Narcissus. It will haunt you forever. Was the above review useful to you? 80 out of 87 people found the following review useful: A film about nuns and lust ... but it's not what you'd expect. from Sydney, Australia 30 January 2001 A story about a community of nuns ... doesn't sound very exciting. But in fact, `Black Narcissus' is as erotic, spellbinding, and suspenseful as any of today's psychological thrillers.

Directing team Michael Powell and Emeric Pressburger manage to combine a number of unlikely and potentially sensational elements - eroticism, desire, and isolation - into the story of a company of Anglican nuns who attempt to establish a civilised community in the former bordello of the Rajah, in the untamed hills of the Himalayas. Their leader, Sister Clodagh, communicates with the indigenous leader of the land via a profligate Englishman, Mr Dean. Worn down by the hostile surroundings and the isolation, Sister Clodagh finds her nuns becoming restless and discontent. It is when one of her them, Sister Ruth, becomes infatuated with Mr Deans, that the fragile and repressed community begins to implode. Pressburger and Powell deliberately used studio exteriors and special effects rather than shooting on location in order to ensure that the characters and their story remained the focus of the film, and not its exotic setting. This lends to the movie a heightened, mesmeric atmosphere which contributes highly to its artistic success, and earned two Academy Awards. The famous wordless sequence towards the end of the film displays a particularly interesting approach. The music to this sequence was written and recorded first.

Played back during the recording of the sequence, it dictated the movements and motivations of the actors. Still completely convincing today, `Black Narcissus' is one of Britain's most important and innovative films. Was the above review useful to you? 62 out of 69 people found the following review useful: Brooding atmosphere of its own...gorgeous color photography... from U.S.A. 6 May 2001 Deborah Kerr is designated to establish a convent in the Himalayas at a remote cliffside dwelling, a palace of dubious origin. She takes her assignment seriously and faces strange customs and unfamiliar peoples as well as a harsh climate. There are inner struggles as well, and Kerr is excellent at revealing these. Huge closeups reveal what her character is supposedly thinking as she peers at others, often in unspoken disapproval of their actions, particularly David Farrar, Jean Simmons (as an Indian girl), and Kathleen Byron--who gives the film's most urgent performance as the distraught nun with worldly pleasures on her mind. Kerr gives a faultless performance, the mainstay of the film, since most of the story is seen from her viewpoint. The striking color photography and set decoration were rightfully awarded Oscars.

A haunting, powerful study of the effects of loneliness and isolation on a group of nuns--and what happens when one of them goes beserk. The struggle between the two nuns at the bell tower is one of the most gripping climaxes ever. A richly detailed British film with a windswept atmosphere all its own. Was the above review useful to you? 52 out of 57 people found the following review useful: Beautiful and Powerful from Pittsburgh, PA USA 2 February 2001 The idea of one individual's inner conflicts within an organized religious group is not necessarily a new concept in story telling. Depending on the talents of the artists involved, and usually the stellar performance of one individual, the results can be quite good, and at times extraordinary. Now, take that premise and reverse it. What happens when you have an entire group of individuals, who, for some reason beyond their understanding, begin to question their faith, vows, and purpose in life? You have the film Black Narcissus. A group of Anglican nuns led by Deborah Kerr as Sister Clodah are sent to the Himalaya Mountains to create a school and hospital from an abandoned palace.

The palace was once called "The House of Women" and is rather ornately decorated with erotic art. In the opening scenes, we are told that an order of Brothers had attempted to do the same thing as the Sisters, but failed. Sister Clodah obviously enjoys the fact that she has been chosen, and also enjoys being in charge. Not long after the nun's arrival their "straight-laced" behavior begins to loosen, their discipline becomes more lax, and the foundation of their self-image begins to change. Deborah Kerr is wonderful as Sister Clodah. There's more to her character than immediately meets the eye. David Farrar as Mr. Dean, Flora Robson as Sister Philippa, Sabu as The Young General, and Jean Simmons as Kanchi are a superb acting ensemble. However it is Kathleen Byron as the emotionally disturbed Sister Ruth that you will remember the most after viewing this film. The extraordinary performances in this film are complimented visually with the flawless cinematography by Jack Cardiff. This is one of the most beautifully composed color films I have ever seen. I did not know that this film was shot entirely in a studio until after I had seen it several times.

Some of the matte shots are extremely realistic, and others look more like beautiful paintings. All this serves to reinforce the struggle between illusion and reality, and also passion and chastity. Brian Easdale's musical score is extremely effective, and his use of a wordless chorus is fascinating -- whether they are singing an Irish folk-like song or an Indian chant. In the climactic scene, there is over 10 minutes of film time when not a single word is spoken; just the chorus and orchestra. Black Narcissus brings home the point that we are all sometimes far too ambitious, vulnerable, obstinate, passionate, and alas, human. Was the above review useful to you? 43 out of 49 people found the following review useful: The palace in the mountain from New York 1 February 2006 Wind is always blowing throughout the monastery the Servants of God nuns have inherited in a remote part of India. In accepting being in charge of the new place, Sister Clodagh will question her faith as she faces one of the greatest challenges of her life. Michael Powell, working with his usual collaborator, Emeric Pressburger, on the Rumer Godden's novel, created a film that stands the test of time.

His achievement is even more incredible as he shot this film in an English studio. The film, brilliantly photographed by Jack Cardiff, one of the best men in the business, and a frequent ally of Mr. Powell, is one of the best pictures of the English cinema. The glorious Technicolor still looks great. "Black Narcissus" questions how some Christians, in this case, nuns of a religious order, can be so blind about things that deviate from what it deems is the right way. When the young General wants to be part of the school the nuns are creating, they reject him, yet, he asks about how would a God, made human in the form of Christ, would respond to his petition. Sister Clodagh is also put in a spot when she wants to get rid of the old man who day after day sits staring at the distant mountains. It's Mr. Dean who challenges her in asking how would her God deal with the old man. Sister Clodagh's past is revealed in flashbacks when she was a young woman and in love with a young man who wanted to emigrate to America and she wasn't ready to follow him.

Also, Sister Ruth, who is a rebel, decides to abandon the order because she is in love with Mr. Dean. The highlight of the film is the scene in which Ruth begins applying the deep red lipstick, which makes quite a contrast with her beautiful reddish hair to the horror of Sister Clodagh, who clearly is not prepared for the desertion. There is also an undercurrent between Sister Clodagh and Mr. Dean, who one feels loves her. The nun is too loyal to the principles that made her take the vows. She realizes at the end that while she had the best intentions to transform the place, she is only a human being who suffers a defeat because of her surroundings. Deborah Kerr enjoyed one of the best triumphs of her career with the role of Sister Clodagh. She is seen as a young woman of great beauty and the austere nun she became later in her life. David Farrar is Mr. Dean, the Englishman who is now living in that remote part of India and knows the people well. Kathleen Byron makes an excellent contribution as the rebel Sister Ruth. Flora Robson plays the kind Sister Philippa.

Jean Simmons appears as a cruel Indian girl, and Sabu has some interesting moments in the film. This is one of Mr. Powell's best movies in his influential film career. He was one of the most innovative film makers of his generation and it shows well in "Black Narcissus". Was the above review useful to you? 43 out of 50 people found the following review useful: One of the 3 most gorgeous films ever made from Massachusetts 25 May 2000 Sister Clodagh (Deborah Kerr) is promoted to Sister Superior, and sent to establish an Anglican mission/convent/school in a remote village high in the Himalayas. With her she brings several other nuns (a level-headed Judith Furse, an older nun Flora Robson, and a neophyte Kathleen Byron). The strange atmosphere of this remote region affects all those involved. Ruth (Kathleen Byron) falls hopelessly in love with a British jack-of-all trades and local agent (David Farrar). The surrounding events and Farrar's presence also rekindle Kerr's memories of a failed love affair she once had with a young man (Shaun Noble).

When Noble left her life, Jesus Christ entered, and Kerr became a nun. Jean Simmons plays a beautiful beggar girl, who is placed in the care of Kerr by Farrar. Simmons later becomes Prince Dilip Raj's (Sabu's) wife, of sorts. The most stunning scenes occur toward the end of the movie. Ruth's mental disintegration and her pathetic pass at Farrar are very sad. Ruth's change in appearance is visually riveting, as much perhaps as Isabelle Adjani's transformation in The Story of Adele H. The performances by Kerr and Byron are superlative, their facial expressions revealing deep heartfelt emotion and pain. If you think Holly Hunter did a great (non-speaking) acting job in The Piano, see Black Narcissus for a real revelation! This Powell-Pressburger film is one of the most beautifully photographed color movies ever made. Black Narcissus won two Academy awards, for art direction and cinematography. It would take over 3 decades for a comparable film (Days of Heaven) to come along. If you are fortunate enough to have viewed the laserdisc version of the movie, you will be able to listen to Powell and Scorsese do a running commentary of the movie.

Toward the end, you will learn how the final scene was shot to a film score, and not the other way around. Was the above review useful to you? 38 out of 43 people found the following review useful: Human struggle defeated by place in a beautiful film from Moscow, Russian Federation 20 February 2000 A small group of nuns, working nuns, not contemplatives, journey to the Himalayas to establish a school and dispensary in a high and remote deserted palace. It was a palace built for a ruler's women, and every wall painting, every decoration, contrasts the sensuality of this society with the chaste and energetic vocation of the nuns. Only Dean (David Farrar), the ruling General's Agent, links the steamy life of the valley with the wind-blown austerity of the nunnery above. It is the destructive power of emotions reppressed and released that is most obvious in 'Black Narcissus', but more fundamental to this beautiful film is a stronger, yet quieter, ancient and more subtle power, that of place.

The Himalayan setting is established surprisingly convincingly for the period, in a series of vivid shots that disclose the fact of that landscape's power from the beginning. And the particular quality, the particular power of that place is continuously present in the wind that blows constantly, stirring every fabric, every soft thing. Only as that power of place begins to work its insidious magic on the nuns does it begin to reveal its nature. Everyone there is affected, their practical efforts diverted by poetry and passion. Somehow flowers are planted, not potatoes. The Young General (Sabu) falls in love with a dancing girl (Jean Simmons). Two of the nuns are drawn to the rough Agent, already sunk into the life of the society around him. Sister Clodagh (Deborah Kerr), the Sister Superior, initially drawn back to memories of her lover in Ireland, remains strong in her faith, yet is softened, becomes more human. Sister Ruth (Kathleen Byron), on the other hand, becomes maddened by jealous passion and it is her tragedy, itself peculiarly bound up with the geography of the place, that brings the drama to an end.

The testing of a few people brought together in isolation is a familiar theme, but this is an unusual example. 'Black Narcissus' has an unusual symmetry: acceptance of this tainted life, in the person of the agent, is compared with the surrender to her passions of Sister Ruth, whose irrational passion, in turn, contrasts with the gentle loves of the Sister Clodagh; the abandonment of this world by the holy contemplative who lives in the nunnery grounds contrasts with the nun's holy yet practical struggles. So, too, we see the valley richly coloured, but the Mopu Palace nunnery almost monochrome, washed out. The project at Mopu fails, the struggle against the genius of the place is abandoned. But not everything fails: Sister Clodagh has become wiser and less proud. Some struggles are too great, but we learn that there can be victories in small things: the Young General wins Kanchi, his dancing girl. This is a fine film, well acted. David Farrar, though at times uneasy in a difficult role, requiring roughness and sympathy in equal measure, generally manages to strike the right balance.

Kathleen Byron grows convincingly mad with jealousy and is stupendous in her dramatic final scene. Flora Robson, as Sister Phillipa, tending her gardens, has a small part which she plays to perfection. Deborah Kerr is outstanding: that Sister Clodagh has a fundamental sympathy disguised by pride is apparent from the beginning, and the progressive disclose of the quiet, loving, passion of her character, is finely judged. The art direction and cinematography, too, is excellent: the wind tugging at every fabric, the sputtering candles, the long shots of the landscape, Sister L pausing momentarily to caress a strikingly phallic baluster. It is astonishing that this was all achieved without leaving the suburbs of London. The music is ravishing and, in the later scenes, intense. Finally, in its emphasis on the spirit of place, even set in the Himalayas, 'Black Narcissus' is a very British film. Was the above review useful to you?

34 out of 38 people found the following review useful: A Hypnotic and Dazzling Film from United States 24 April 2006 This spellbinding movie from that spellbinding film-making team (Powell and Pressburger) is another entry in the long line of literary and film stories that revolve around British restraint and repression unraveling under the force of mysterious foreign cultures (usually Eastern and frequently Indian), and it's one of the best. A group of nuns travel to the Himalayas to do missionary work among the natives, but instead find themselves coming under the mystical spell of the place and people around them. Deborah Kerr is stunning as the head nun, who's determined to maintain order and British civility at all costs. I still can't decide whether this or "The Innocents" (1961) gave her her best role. At the other extreme is Kathleen Byron's Sister Ruth, who renounces her vows, paints her lips bright red, and engages in a fierce battle of wills with Kerr. What follows is a film that is surprisingly sexual, erotic and wild. Powell and Pressburger are experts at using color.

Instead of employing their Technicolor to simply make their film look pretty, the color almost becomes a character in itself, creating a feverish, hyper-realistic glow to the film. Legendary cameraman Jack Cardiff is responsible for the sterling and Oscar-winning cinematography. Equally stunning is the art direction, which created very realistic mountains out of papier-mache. A simply sensational film, one that holds up completely and could be watched again and again. This and "Out of the Past" vie in my esteem for best film released in 1947. Grade: A+ from Houston, Texas 10 December 2003 The story line for this movie has been covered by many reviewers and I will make no attempt to further explain the plot. What I will point you to are the most incredible cinematography and acting elements of this classic presentation. Technicolor is remarkably presented by Jack Cardiff and I have yet to see a movie which is so visually vibrant and pleasing. Some of the still paintings and sets at Pinewood are truly remarkable considering this picture was made over 50 years ago. Alfred Junge must take credit for those remarkable designs and sets.

The acting is pure theater with an absolutely insane delivery by Kathleen Byron (Sister Ruth) as the emotionally fragile nun slowly loosing grip with reality. Her red lipstick scene is pure magic as is her appearance from the large wooden doors, pale, insane and soaked in water towards the end of the movie. What a terrific shot displaying her insanity captured in all the right mood, music and color. Deborah Kerr (Sister Clodagh) does same amazing acting with visual delight and incredible facial expressions. Her anger scenes are quite remarkable throughout the film as she shakes with pure venom at Sister Ruth. The terror in her face where she prays alone in the chapel with Sister Ruth roaming the stairways is quite remarkable. There are many other memorable scenes with light, color and music which makes this the best movie of Powell and Pressburger (IMHO). Buy the Criterion DVD and watch it endlessly. Was the above review useful to you? Page 1 of 14: Black Narcissus (1947) Author: Jon Kolenchak from Pittsburgh, PA USA The idea of one individual's inner conflicts within an organized religious group is not necessarily a new concept in story telling.

Depending on the talents of the artists involved, and usually the stellar performance of one individual, the results can be quite good, and at times extraordinary. Now, take that premise and reverse it. What happens when you have an entire group of individuals, who, for some reason beyond their understanding, begin to question their faith, vows, and purpose in life? You have the film Black Narcissus. A group of Anglican nuns led by Deborah Kerr as Sister Clodah are sent to the Himalaya Mountains to create a school and hospital from an abandoned palace. The palace was once called "The House of Women" and is rather ornately decorated with erotic art. In the opening scenes, we are told that an order of Brothers had attempted to do the same thing as the Sisters, but failed. Sister Clodah obviously enjoys the fact that she has been chosen, and also enjoys being in charge. Not long after the nun's arrival their "straight-laced" behavior begins to loosen, their discipline becomes more lax, and the foundation of their self-image begins to change. Deborah Kerr is wonderful as Sister Clodah. There's more to her character than immediately meets the eye. David Farrar as Mr.

Dean, Flora Robson as Sister Philippa, Sabu as The Young General, and Jean Simmons as Kanchi are a superb acting ensemble. However it is Kathleen Byron as the emotionally disturbed Sister Ruth that you will remember the most after viewing this film. The extraordinary performances in this film are complimented visually with the flawless cinematography by Jack Cardiff. This is one of the most beautifully composed color films I have ever seen. I did not know that this film was shot entirely in a studio until after I had seen it several times. Some of the matte shots are extremely realistic, and others look more like beautiful paintings. All this serves to reinforce the struggle between illusion and reality, and also passion and chastity. Brian Easdale's musical score is extremely effective, and his use of a wordless chorus is fascinating -- whether they are singing an Irish folk-like song or an Indian chant. In the climactic scene, there is over 10 minutes of film time when not a single word is spoken; just the chorus and orchestra. Black Narcissus brings home the point that we are all sometimes far too ambitious, vulnerable, obstinate, passionate, and alas, human. Was the above review useful to you?

1000+ images about Black Narcissus on Pinterest | Color black, The criterion collection and Posts Pinterest • The world’s catalog of ideas Black Narcissus 88 Pins357 Followers My favorite film from 1947, directed by Michael Powell & Emeric Pressburger, with Deborah Kerr, Flora Robson, Jean Simmons Nuns on the Silver Screen | SpeakEasy Nuns on the Silver Screen Nuns on the Silver Screen The Divine Sister is set in the mid-sixties, when nuns were ubiquitous in the community, fixtures in education and medicine, and well-represented in of some of Hollywood’s most successful mid-century movies. This was a time when a nun could be a true cinema hero—not the butt of a joke or a criminal in disguise—but a brave, sensitive woman filled with heart and intelligence. Perhaps the ultimate women’s films, the popularity of nun movies stems in part from the fact that, between the end of World War II to the emergence of women’s liberation in the seventies, nuns were a terrific dramatic device to tell stories about women that weren’t focused on getting or keeping a man.

The hierarchies in these stories were all female, and nuns could be sent to the remotest parts of the planet and still tell believable tales. The Divine Sister lovingly spoofs these films—and takes a few jabs at some more contemporary ones too. It’s no surprise that for many of us, The Sound of Music (1965) is what springs to mind first when we think of movie nuns. After all, it is one of the most popular movies of all time, and, beginning in 1979, aired annually on NBC for twenty years running. While there are some great shots of the Nonnberg Abbey in Salzburg where Maria von Trapp was a postulant, the movie doesn’t reveal much about what really goes on inside those walls. For that, we turn to The Nun’s Story (1959), adapted from the novel by Kathryn Hulme and starring Audrey Hepburn as Sister Luke. The movie provides an unusual glimpse into the centuries-old process designed to redirect the independent nature of young women to a life of personal spirituality and service to God.

Dancers from the Rome Opera Ballet corps were hired to play nuns in the early scenes of the film, which were choreographed to capture the complex convent rituals. Charles Busch loved The Nun’s Story growing up, as well as two other films from the previous decade with a strong spiritual element: The Song of Bernadette (1943) offers a young Jennifer Jones, who won an Oscar for her portrayal of Bernadette Soubirous, whose visions became known as the Miracle of Lourdes. The novel by Franz Werfel, that was the basis of the film, spent more than a year on the New York Times Best Seller List, clocking 13 weeks in first position. The Bells of St. Mary’s (1945), that year’s highest grossing movie, starred Ingrid Bergman as Mother Superior and Bing Crosby as her nemesis Father O’Malley, a role he reprised from Going My Way (1943) that had won him the Academy Award. Forced to work together to save a soon-to-be condemned New York City Catholic school, the pair seeks financial support from the irascible businessman who owns the office building next door.

One of his favorite films, Martin Scorsese says he cries every time he watches it. Although set in 1964, a more recent film that also pits a traditional nun against a charismatic priest who’s more in touch with the community is Doubt (2008), John Patrick Shanley’s own adaptation of his Tony and Pulitzer Prize-winning play. Cherry Jones won the Best Actress Tony for her portrayal of Sister Aloysius on stage; Meryl Streep, her counterpart in the film, received the Critics Choice Award. Another element sometimes found in nun movies is the conflict between the spirit and the flesh. The prime example would be Black Narcissus (1947), an erotically-charged British psychological drama starring Deborah Kerr and Kathleen Byron as the leaders of a small group of Anglican nuns sent to a remote Himalayan outpost to establish a school and infirmary in an abandoned brothel. The sensuality of their exotic environment and the disturbing presence of a handsome British agent lead to harrowing outcomes. Kerr begins to dwell on a romance she had as a young woman before entering the convent, and Byron loses it completely in all-stops-out, sex-starved insanity.

Kerr’s flashback scenes were removed for the original U.S. release so as not to offend the Catholic Legion of Decency. A much later film that deals with another young sister whose grasp on reality may be tentative is the mystery/thriller Agnes of God (1985). Sister Agnes (Meg Tilley) is a novice who gives birth to a baby under mysterious circumstances. The baby is found dead and a court-appointed psychiatrist (Jane Fonda) is sent to investigate. She must contend with Agnes’ protector, the Mother Superior (Anne Bancroft) who raises the possibility that a miraculous conception had occurred. The movie was adapted by John Pielmeier from his own 1982 play. Another genre of nun movies that emerged in the 1960s — as Vatican II was taking hold and beginning to modernize the Catholic Church — was that of the madcap, fun-loving nun. The Trouble with Angels (1966) is a comedy that starred Hayley Mills as a rambunctious student at a Catholic boarding school under the thumb of Mother Superior Rosalind Russell.

Best remembered now as Mame Dennis in Auntie Mame and a fast-talking newspaper reporter in His Girl Friday, Russell was a perfect choice for the part, given her air of authority and sense of humor. Directed by Ida Lupino, the film also featured Marge Redmond and Mary Wickes as teacher/nuns in the math classroom and the gym. When Hayley Mills opted out of doing the sequel, Where Angels Go, Trouble Follows (1968), she was replaced by Stella Stevens. The Singing Nun (1966), starring Debbie Reynolds, is a highly fictionalized account of the Belgian nun who became known as “Sister Smile” after she sang “Dominique” on The Ed Sullivan Show and it rose to the #1 spot on the Top 40 chart—only to be unseated by the Beatles. Greer Garson and Agnes Moorehead co-starred as fellow nuns. This was Reynolds’ last movie under her MGM contract. In 1965, there were 180,000 nuns in the United States. Today that number has declined to around 70,000 and the average age of that population is 70.

–Suzanne Bixby Black Narcissus - (Movie Clip) Opening Credits You will receive an email shortly to confirm your email address. Black Narcissus - (Movie Clip) Opening Credits title details and video sharing options now playing Black Narcissus - (Movie Clip) Opening Credits First the Rank Organisation gong and "The Archers" trademark, then technicolor cinematography by Jack Cardiff, opening Michael Powell and Emeric Pressburger's Black Narcissus, 1947, starring Deborah Kerr. View the TCMDb entry for Black Narcissus (1947) share video Black Narcissus - (Movie Clip) Opening Credits First the Rank Organisation gong and "The Archers"... Black Narcissus - (Movie Clip) Opening Credits First the Rank Organisation gong and "The Archers" trademark, then technicolor cinematography by Jack Cardiff, opening Michael Powell and Emeric Pressburger's Black Narcissus, 1947, starring Deborah Kerr.> Black Narcissus - (Movie Clip) Kanchi Outcast and bored native girl Kanchi (Jean Simmons) amuses...

Black Narcissus - (Movie Clip) Kanchi Outcast and bored native girl Kanchi (Jean Simmons) amuses herself with a dance until the "Little General," (Sabu), also taken in by the convent, intrudes, in Michael Powell and Emeric Pressburger's Black Narcissus, 1947.> Nuns founding a convent in the Himalayas... Black Narcissus - (Original Trailer) Nuns founding a convent in the Himalayas are tormented by the area's exotic beauty in Black Narcissus (1947) starring Deborah Kerr and Jean Simmons.> Black Narcissus - (Movie Clip) Work Them Hard Mother Dorothea (Nancy Roberts) briefing new and young... Black Narcissus - (Movie Clip) Work Them Hard Mother Dorothea (Nancy Roberts) briefing new and young Sister Superior Clodagh (Deborah Kerr) regarding staff (Judith Furse, Flora Robson, Jenny Laird, Kathleen Byron) for the new mission in the Himalayas, in Michael Powell and Emeric Pressburger's Black Narcissus, 1947.> Black Narcissus - (Movie Clip) You're All...

Sister Superior Clodagh (Deborah Kerr) confronts Sister Ruth... Black Narcissus - (Movie Clip) You're All Jealous Of Me! Sister Superior Clodagh (Deborah Kerr) confronts Sister Ruth (Kathleen Byron), who's cracking up, now out of her habit and ready to leave their Himalayan convent, in Michael Powell and Emeric Pressburger's Black Narcissus, 1947> Black Narcissus -- (Movie Clip) The Place And The... Not a frame of film shot in Asia, the nuns are reading a... Black Narcissus -- (Movie Clip) The Place And The People Not a frame of film shot in Asia, the nuns are reading a voiced-over letter from Mr.

Dean (David Farrar) about what they're getting into, early in Michael Powell and Emeric Pressburger's Black Narcissus, 1947.> Black Narcissus : Watch online now with Amazon Instant Video: Deborah Kerr, David Farrar, Flora Robson, Jean Simmons, Sabu, Esmond Knight, Kathleen Byron, Jenny Laird, Judith Furse, Shaun Noble, Eddie Whaley Jr., Michael Powell, Emeric Pressburger: Amazon.co.uk By Erik Aleksander Moe on 29 July 2008 Format: Blu-ray I have previously bought this wonderful film on laserdisc from Criterion and I have loved it and thought the transfer was good, even though colour strips weren't 100% synced. It has become one of my very favourite movies and the partnership of Michael Powell and Emeric Pressburger one of my all time favourite director/writer team (Life and Death of Coronel Blimp and the Red Shoes are also totally wonderful). Before I saw this movie again on this Blu-ray I had no idea that it could as awazing as it did on this release. Not only were the colours even more vibrant than ever, but the detail in the picture was staggering.

I can now see all the detail in the walls, costumes and props. Alfred Junge got the Oscar for production design on this movie and it is understandable now more than ever. Everything looked totally breathtaking and I could now, more than ever, understand the distraction and beauty that make the nuns forget what they were doing. This is also thanks to the wonderful photography of Jack Cardiff, who won the Oscar for it. His use of colors and the lighting are nothing short of brilliant. When viewing the film it is hard to believe that everything was shot at Pinewood studios, save for some shots from the English countryside. It is a lesson to filmmakers nowadays that you can make a believable movie totally in the studio. The documentary "The profile of Black Narcissus" is included and is quite informative and interesting, featuring interviews with several of the people who made it, including Jack Cardiff and Kathleen Byron. Is is presented in 576p, so some people with a TV that doesn't support this resolution may have problems viewing it. The Blu-ray is also region free. If you haven't seen the movie before and are interested in the old way of moviemaking then I totally recommend this magnificent picture.

Question: In which 1947 film starring Deborah Kerr, were a group of nuns sent to the Himalayas to set up a convent?
Answer: 'BLACK NARCISSUS'